Last week I wrote about a beautiful vinyl exclusive LP on Translation Recordings being fully funded by the power of the fans, every purchase building towards the eventual manufacture, packaging and shipping of the hopeful 200 presses (of which you can get involved with here).
This week I bring you a weekend release from our good Finnish friend, Fanu, in a very similar vein.
You may remember a fleeting post we whipped at your witless mugs late last year? A post featuring a short sting of a video teaser featuring a fiendishly flippant fragment of future Fanu works to come, with no hint of an explanation as to what any of it was… but we knew…
The question-marked video was a ‘dipping toe’ in the strange murky waters of Mr Janne Hatula’s latest and perhaps greatest, depending on which Fanu angle you love most, album, Strange Lights.
What is it? Well its Janne’s hand turned to “futuristic bass music” as he sees it. Is it Drum & Bass? Well it’s within the jukey/footworky 808 bounds, stomping around the autonomic realms of 80/85 bpm and shuffling about the halls of 160 & 170. He’s told us before that he’s not one to stick to any one ‘genre’, a man whose “been exposed to so much music in [his] life that [he] can’t be re-hashing things as [he’s] gotta keep moving; there’s so much music inside of [him] that wants to come out” (you can read our full interview with Fanu here).
And so here he is, smashing out his 35th birthday with the release of a brand new LP, one unlike anything else he’s ever made before. I truly love this guy.
But it’s not just a leap of faith in production terms: a producer throwing another twist at his fans, some of whom love him for everything he’s ever made, some for a certain era and some for but a single release. This is someone gambling a profitable return on those varying fans themselves.
It’s a routine Band Camp method: put the release out there with no price tag and let the people decide your worth. The lowest purchasing cost? – Zero pennies.
This is about the dilution of listening in the modern market: digital paving easy access to everything from music files through to DJ’ing and production software. Whether you purchase legitimately or download illegally. The consequence has been a massive influx of DJ’s, producers, bands and music of all kinds, so much so that we can find ourselves somewhat ‘lost’ at times in our listening. I would be lying if my musical habits, since harnessing the power of the ever-updating SoundCloud, have become somewhat obscenely throw-away. Too much so.
This is a man on a ledge, putting his worth in the people that truly love him, putting his tracks out for free and watching as his collective fans pour heartfelt contributions into his efforts. For the full insight you should really read Janne’s explanations/reasoning behind the LP and it’s accessibility here.
There’s no surprise that the massively grounded and safe-as-fook fella makes some excellent points about the industry and how artists reach their audience: information giving this album additional weight and purpose.
Though that’s not to say that it isn’t an absolute diamond on its own 8-tracked feet: contextless and entirely delicious…
You can name your price on the album and grab up a copy here and do as intended: empower this album with the digital force of sharing. Do something to push against the grain. There’s no Beatport here, no iTunes, no Amazon… just one man and a Band Camp page hoping for a few clicks.
And if you find yourself hungry for more of the man’s works then by all means explore his discography, something jam packed with a wide array of broken rhythms and of course, his alter-productive-ego, FatGyver, who we caught up with earlier on this year.